#tumblr/Jaqueline Bishop

[sexypinkon]

Sexypink - JACQUELINE BISHOP, writer and visual artist, born in Kingston, Jamaica, and who now lives and works in New York City. She has held several Fulbright Fellowships, and exhibited her work widely in North America, Europe and North Africa. She is also an Associate Professor in the School of Liberal Studies at New York University.

On one hand, the market woman/huckster is the most ubiquitous figure to emerge from plantation Jamaica. Yet, as pervasive as the figure of the market woman is in Jamaican and Caribbean art and visual culture, she remains critically overlooked. In this set of fifteen dishes, I am both paying homage to the market woman—centering her importance to Caribbean society from the period of slavery onwards—and placing her within a critical context. In particular, I place the market woman within a long tradition of female labor depicted in diverse imagery that I have sourced online, including early Jamaican postcards, paintings of enslaved women from Brazil, the colonial paintings of the Italian Agostino Brunias, and present-day photographs, which I collage alongside floral and abolitionist imagery.

I work in ceramics because all the women around me as I grew up—my mother, my grandmother, my great-grandmother—cherished ceramic dinner plates. These were centerpieces kept in one of their most important acquisitions, a specially made mahogany cabinet. To fabricate the plates, it is important that I am working with Emma Price, a British ceramicist based in Stoke-on-Trent in the former Spode factories. In the realization of the series, that connection imbues them with a meaning that shows the long and enduring relationship between England and Jamaica. For that same reason, British Art Studies is a fitting venue for their first ever publication and partner to create an accompanying film exploring the plates and their themes.

Though the likenesses of none of the women in my family are represented in this series, centering the market woman is my way of paying homage to my great-grandmother Celeste Walker, who I grew up knowing very well, and who was a market woman/huckster/milkwoman par excellence. Celeste was born in the tiny district of Nonsuch hidden high in the Blue Mountains in Portland Parish on the island of Jamaica. Her mother died on the way home from a market, when my great-grandmother was too young to even remember her face. In her adulthood, while my great-grandfather farmed the land, my great-grandmother was the huckster who could easily carry bunches of bananas and baskets of food on her head; the market woman who travelled to far away Kingston to sell in Coronation Market, the largest market on the island. She also hawked fresh fish, and prepared and sold coconut oil, ginger beer, cut flowers, and cocoa beans that were pounded in a heavy wooden mortar. I remember her in my childhood as the milkwoman waking very early in the morning and walking through the district selling fresh cow’s milk. The tradition of huckstering would be passed on to my grandmother who relished the role in her older years. My hope in doing this work is to give much respect to the market women of the Jamaican and larger Atlantic world who have fed, and continue to feed, nations. The market woman is the defining symbol of Jamaican and Caribbean societies.

My work integrates the mediums of painting, drawing and photography to explore issues of home, ancestry, family, connectivity and belonging. As someone who has lived longer outside of my birthplace of Jamaica, than I have lived on the island, I am acutely aware of what it means to be simultaneously an insider and an outsider. This ability to see the world from multiple psychological and territorial spaces has led to the development of a particular lens that allows me to view a given environment from a distance. Because I am also a fiction writer and poet as well as a visual artist, the text and narrative are significant parts of my artistic practice.

Oftentimes I utilize a process of competing narratives to have the viewer participate in the creation of meaning. In my “Folly” series I recount a story I heard as a child, of two tales of a “haunted” house. In time, I researched the history of the house and through a process of photomontage combined photographs I took with archival footage to try and tell the two stories. The ghostly images of the past occupants are integrated into the walls and on the grounds of the present-day ruins. The overall effect is spectral and haunting. I also used this process of photomontage in an ongoing series of ethereal and transcendent “Childhood Memories,” in which characters are often split between heaven and earth. There is a palpable sense of loss in these images as characters seek to inhabit a time and a place long gone.

The “Babylon” and “Zion” paintings are about the Rastafarian ideas of Babylon being a place of captivity and oppression while Zion symbolizes a utopian place of unity and peace. In the Babylon series, I write the lyrics from songs and poems to create text-based drip paintings leading up to the “Hanging Gardens of Babylon,” in which I use popular dancehall posters to evoke the inner-city Babylonian “walls” of Kingston. The Zion series is comprised largely of monochrome paintings to delineate this symbolic paradise. Glitter is present in these works not only as a representation of the paradise that Rastafarians seek in the Biblical homeland of Zion but also as a commentary on the ‘bling and glitter’ culture that has enveloped much of Jamaican society. Consequently, my work is very much engaged with helping me to understand my heritage.

[mcumarvelousseries]

MEET JACUELINE MALONE

full name: Jacqueline Alura Malone

goes by: Jackie

nickname(s): Jackie, Lori

date of birth: 06/16/2007

age: 15-16

birthplace: Rome, Italy

zodiac sign: Gemini

current residence: Brooklyn, NY

parent(s): Roman Torres (Father; Deceased), Virginia Torres (Mother; Deceased), Anastasia Romanoff-Malone & Lawrence Malone (Adoptive Parents)

sibling(s): David Malone, Minnie Malone, Carla Malone, Neil malone, Valerio Malone (Adoptive Siblings)

other relative(s): None

gender: female

pronouns: she/her

sexuality: pansexual

species: Advanced Human

love interest: Kate Bishop

alias(es):

Realtà (Hero Name/Alias) -> After endgame

physical description:

Varied length brown hair (and style depends on her mood)

Milky brown eyes

5'8" or 173 cm

128 pounds or 58 kg

Italian Descent

Slim figure

Calloused Hands and Feet (from training)

faceclaim: Madison Bailey

personality: Less-Verbal, Keeps to Herself (Unless she has to), Compassionate, Refutes people, Corrects people, but she has struggles due to her being nervous (stutter or babble).

power(s): summed up

Dimensional Energy Manipulation

Dimensional Awareness

Vibrational Blasts

Mental Connection (to someone which will be revealed later in)

limitation(s): summed up (to 3 limits) more will be seen later

Power dampening tech

Injured Hands

Childhood trauma

some additional notes about Jaqueline:

Her childhood mentors would be Wanda (Scarlet Witch) & Natasha (Black Widow)

The color of her vibrational blasts are a shade of dark purple.

She doesn't know how much power she truly holds for so long, which will come as a shock to her as she discovers new things about herself & her abilities.

Lowkey is like Cisco Ramon from the CW's Flash. I truly do love him, when he was on the show. So she's basically italian and emotionally unstable.

Created by -MissSwan on Wattpad, her tumblr account is ________.

quote:

"I don't want to talk about any of them okay. My father was killed, my mother died because of a thing that kills millions of people every year and Nat and Tony, they sacrificed themselves so me being Realtà is me honoring everything they taught me."

More about Jaqueline will be posted in the character list & in the stories published with her. Stay tuned!!!

[sexypinkon]

Sexypink - A closer look.

[sexypinkon]

(Excerpt) When Jacqueline Bishop looks back to her childhood in 1970s Jamaica, one image springs to mind. For an imaginative child, her grandmother’s china cabinet exerted a particular fascination. Behind its glass doors lay another world. The gold-rimmed porcelain plates with images of carriages, castles and waltzing couples offered glimpses of an exotic, faraway Europe.